By MICHAEL PERKINS
THE VERY PUBLIC, WONDERFULLY ELEGANT expressions of holiday spirit we all share in common, dripping in lights and bursting with sentiment, are measures of how we might observe an “ideal” season, perfect in execution, it’s every detail wonderfully balanced between love, memory and mystery. But the Christmases that we craft with what’s on hand, either emotionally or financially……well, that’s another thing entirely.
The holidays we piece together one lonely candle, one sad string of lights at a time, are worth seeking with your camera, no less than the forty-story firs in the public square. Stationed wherever we happen to wind up, cadging together makeshift moments from inside a barracks, in the last dark apartment down the hall, we “make do”, but we also re-make ourselves. We drill down to what’s essential. And pictures of those tiny acts of enchantment are worth discovering.
One of the most poignant moments, among many, in Dickens’ Christmas Carol describes the humble holiday preparations of the family of Scrooge’s impoverished clerk, Bob Cratchit, modest rituals that, over time, have rung truer than all the grand and glorious galas trotted out each season by the more fortunate. Bob’s wife is described as “dressed out but poorly in a twice-turned (re-re-hemmed) gown, but brave in ribbons, which are cheap and make a goodly show for sixpence…”, This sentence has remained burned into my brain since I first read it more than half a century ago. Brave in ribbons. The quiet, persistent dignity of that woman has, for me, symbolized the season more than all the lights and garlands on the earth.
In the years since that first reading, I have tried to train my photographer’s eye to look beyond the big and loud of Christmas to find the small and soft iterations of the holiday, those places where its spirit must inch its way skyward like a wildflower struggling through a crack in the sidewalk. I see some amazing testaments to human survival in the modest windows and tiny yards where many a loving remembrance resides.
Some, as in the case of the picture seen here, are observed at the backsides of alleys, eight stories up in a parking garage, overlooked, unsung. But sing them we should, and picture them we must. Oversized dreams in department store windows are seductive, to be sure, a visual ode to If Only. But down here on the ground, where most Christmases are crafted, a lot more must be supplied by dint of imagination and dreams. Here, closer to the human heart, we learn to ignore our tattered hems, and to be brave in ribbons.
By MICHAEL PERKINS
DICKENS‘ A CHRISTMAS CAROL IS OFTEN REGARDED as a ghost story, and a marvelous and chilling one it certainly is. But because its lessons are couched in the colors and echoes of the most wonderful time of the year, the tale of Scrooge’s regeneration also acts on the heart like a series of photographs. It freezes time and invites us to re-inhabit that which has so fleetingly danced by our life lenses. Instead of weeping for what we’ve lost, we smile over what we’ve lived.
There is a reason that Christmas and photography forged such a natural bond. Both deal in retrieval, the summoning of shadows for Just One More Look. Aided by images, we call dear ones back from the beyond for a final embrace, a warm wince of recognition. Remember how handsome he was? Do you recall the day when she got that dress? Oh, there’s the baby.
Time it was, and what a time it was………
No one had to teach the world the value of all those little tintype testimonies when it came to the holidays. Everyone instinctively got the connection between the inexorable march of years and the value of stealing back just a taste of them with the snap of a shutter. Scrooge had his spirits to remind him of the man he had been and the man he still might be. They were his snapshots. His renewed realization of what had been wonderful in his life was his photo album.
Today, still, when someone is privileged to head home for a few days, we wish them well in several ways. Have a safe trip, we say. Give everyone my love, we say.
And then the inevitable tag line.
Take lots of pictures.
By MICHAEL PERKINS
CBS TELEVISION FIRST AIRED A Charlie Brown Christmas on December 9, 1965, creating an instant seasonal classic. It got its first tenuous viewing despite the network suits’ fears that the modest little story, voiced by children(!), sporting a jazz soundtrack(!) and gently suggesting that the holiday may be about more than greed and glitz, would lay a giant Yuletide egg. They needn’t have worried, as it turned ou. The show nobody wanted became the tradition without which no Christmas could be thought to be complete.
One of the show’s main plot points involves Charlie Brown’s fear that the holiday has been hijacked by hucksters, so much so that the hottest selling Christmas trees in his neighborhood are not verdant firs but pastel-painted, neon monstrosities. There was a lot of that nonsense going on in those days.
The photograph you see here was taken just days after that first airing of ACBC, but I can’t really claim to be channeling its energy or trying to echo its sentiments. The picture isn’t so much a comment on commercialism (nothing that formal) so much as it is a question.
I was a very young thirteen in December 1965, and had only wielded my Imperial Mark XII box camera on a few occasions prior to the day I found myself wandering around Northern Lights shopping center in Columbus, Ohio, specifically past the display window of the Cussins & Fern Hardware Company. Like Charlie Brown, I thought that some holiday novelties, like the recently introduced aluminum Xmas trees were odd, even though I liked the included rotating wheels that projected ever-changing colors onto the silvery sticks in a kind of robotically cold imitation of gaiety. However, unlike Charlie Brown, I don’t think I regarded these abstract Future Trees as an affront to decency. I just thought they were weird.
I do remember thinking that the window showed a Christmas that was just kind of……off, a Christmas in which you got a whole television set or a food freezer as a present, a Christmas filled with Strange Trees From The Future, a Christmas where you could always buy….money orders? I knew, in that era, next to nothing about how to formally frame a shot or a visual commentary. I didn’t have the pictorial vocabulary to make an argument. I couldn’t interpret. I just pointed at things that interested me and trusted those things to carry their own narrative weight. I was point-and-shoot before point-and-shoot wiz cool.
This Christmas, both the holiday and I are still in flux. I continue to point my camera at shop windows, and continue to wonder what the whole mad mix of beauty and banality means. I still don’t have the answer. Alas, as a photographer, you often have to be content with merely learning better ways to ask the question.
Now, if I can just find someplace to buy Uncle Ed that money order he asked for…..